A rebellion.
An Iraqi poet and writer.
It wasn't a passing moment, no false cultural taste, no instant event, in his hair life, approaching the east, it was an internal coup and a profound revolution, reshaping his vision of poetry and correcting his vision towards the world. Since he set up a coercion in the city of Mikhailovskwe, Bushkin has flew from its balcony on another world, a world led by words, once he has not seen or found it in the west: wisdom, moral dimension, human voice, which transcends space.
In those years that our friend lived in the city of Mikhailovskwe, captured on it, read the Quran and Persian poetry, which later enabled him to reconsider the meaning and role of the poet, from his spiritual life to a new, adventure-rich poetry experiment, made up of nine blocks, the most controversial experience: «Quran simulation.»I'm sorry.
This poem was not the new tone and the recipients of it, a religious tradition, and no instinctive attempt to represent Islam from within it. «I work for the Koran glory.»- What? He did not say in the glory of God, that phrase showed the distance that the Russian poet sun set between moral admiration and religious belief.
The sign is in his poem. «Quran simulation.» What appears to have been not only read the Koran, but has gone through it, as it appears to have been familiar with the Prophet, it has photographed a picture of the Arab Prophet that is approaching some of its features from historical reality. «Inside.» It is the vision of an eloquently examined reader, who saw in the text he read, a moral stream and a great poetic spirit, that is, he held enormous energy and made it a mirror of his own questions. "The deep art work is not understood from first reading, it reveals a layer after another, and the holy books of its reader are revealed with recurrence."
The East cognitive magnet not only stops when it attracts Bushkin to the Koran, but finds the reader in his hair, sometimes shows white traces of the Sofis Saadi al-Shirazi and Al-Shirazi governors, and despite the lack of conclusive evidence that he directly misreaded their texts in early-sensuals, but many of them are not very popular. «Easter flower.»I'm sorry.
In his poem. «Who kept it?»- What? The overlap between personal experience and the Eastern code may seem remarkable. The war in the poem was nothing but a backdrop, but only a mask, although there were indications of its rejection, such as: «But I'm afraid, in the midst of battle, you lose your delicate shyness in the moves...»- What? The true God is alienation, existential test, beauty as a lifesaver and salvation, and when the King of Death mentions Ezrael in the same poem: «Azrael among the swords will see your beauty.»- What? It does not point to him as a threat, but rather as a creative force that deflects beauty, retreats from his throat, as did the great plight of Jamal Ibn Yakub, Yusuf al-Nabi, in the Islamic Methology, and here lies the truth, when the Russian poet meets Bushkin in his hair with the spirit of sliding slide in the hair of the deep, the Persian Sharid, the Sofid.
But the farther and deeper impact of his career has come from the wisest, the Persian poet Saadi al-Shirazi, who found «Sasha.» It has a uniquely prosperous, morally balanced sample of beauty and meaning. The presence of Saadi in Bushkin's hair was not a quotation, meaning, meaning or language combination, if it was a complete vision; his wisdom could be echoed in more than one of his actions. «A fountain with a secret.» To a conclusion. «I'm getting rich.»So he said: «Some of them don't exist anymore, others are far away.»I'm sorry.
A poem. «Grapes.»Bushkin wrote one of his finest and sweetest poetic moments, when he compared the late spring rose to the mature grape fruit in the fall, in a quiet good trade between fast beauty and careful dictation, some Russian critics see in this poem. «Breathe from Saadi's writings.»Most of his books. «Boston and Grayton.» Bushkin has succeeded and excelled the classic Persian spirit in Russian structure, without tradition and tyranny.
Even his poem. «Arab simulation.»- What? هي تنبع -أيضًا- في أصلها من منابع سعدي، من حكاية له عن الصداقة والحب، إذ يتماهى شخصان ليصبحا «كجوزتين في قشرة واحدة» ولا غرابة في الأمر، فقد زار ابنُ شيراز بغداد، وكتب باللغة العربية -على قِلَّةِ ما كتب- قصيدته الرائية «رثاء بغداد» إثر احتلالها على يد المغول، كما كتب بالفارسية -على كثرة ما كتب-، فكان حقًّا الجسر الأسلم بين ثقافتين، وربما دخان الاحتراق في بغداد وصل إلى بوشكِن عبر قصيدة سعدي، أو من خلال قراءته لسيرته فقرر أن يسمي عتبة النصِّ محاكاة عربية، تيمُّنًا بسعدي الذي رثى بغداد في رائيته.
وهكذا، بين القرآن وسعدي وحافظ، تشكَّل في شِعر بوشكِن شرقٌ آخر، شرقٌ حكيم معرفي ذو سؤال أخلاقي، ليس الشرق الأسطوري النزعة. وقد غيَّر هذا اللقاء مسار صاحبِ “ابنة الضابط” تغييرًا لا رجعة بعده. فإذا كان بوشكِن في بداياته شاعرًا غربيَّ الملامح، فإن سنوات ميخايلوفْسْكويِه جعلته شاعرًا كونيًا، يرى في الشرق مرآةً أخرى للإنسان، وللشعر، وللمصير.
بعد تلك المرحلة، لمْ يَعُدْ الشرق ضيفًا في شعر بوشكِن، بل صار جزءًا من صوته الشعري، وضوءًا في نظرته إلى العالم. وهنا، ربما يكمن سرُّ فرادة مؤسِّس الشعر الروسي الحديث؛ أنه وَجَدَ في القرآن والشاعرين الفارسيين الصوفيين ما يُعيد إليه معنى الشعر نفسه!
